ArtSlant - Current exhibits http://www.artslant.com/sf/Events/show en-us 40 D Young V, Eddie Colla, Hugh Leeman - 111 Minna Gallery - February 7th - March 29th <p style="text-align: justify;">&nbsp;</p> <div class="wpsc_category_details"> <p style="text-align: justify;">111 Minna Gallery&rsquo;s first art exhibition of 2014 with the dynamic, street influenced artwork by local greats D Young V, Eddie Colla and Hugh Leeman. If you&rsquo;re no stranger to the Bay Area you&rsquo;ve probably seen the clever craftiness of these three prolific artists on more than one occasion throughout the Bay cities. No strangers to working together, 111 Minna welcomes the trio to what is set to be yet another intense and groundbreaking display of vivid, graphic oriented imagery rooted in urban street culture.</p> <p style="text-align: justify;">Adept at diverse collaborative installations with one another, this will be their first major show with 111 Minna Gallery and due to the impressive nature of these artists work, the show will be on display throughout February and March 2014.</p> </div> <p style="text-align: justify;"><span style="font-size: small;"><strong>D Young V</strong></span></p> <p style="text-align: justify;"><span style="font-size: small;">A San Francisco resident for the last decade, D Young V has engaged in a variety of media both in the gallery and on the street, depicting his vision of a new dystopian society. His characters, symbols and people represent a smattering of different modern day cultures and languages mixed into one. Though there is no linear narrative in place, most of Young&rsquo;s work is meant to engage the viewer and allow them to determine the roles of his characters and meanings of their symbols for themselves. Many of these viewer interpretations are then adapted into the progress of the work, thus allowing the audience to take a greater role in the creation of the concept. &nbsp;The face of his work is ever changing in style and media with every exhibition, which range from simple pen drawings to massive colorful installations. This allows every show/project to take on its own individual identity and evolution.</span></p> <p style="text-align: justify;">&nbsp;</p> <p style="text-align: justify;"><span style="font-size: small;"><strong>Eddie</strong><strong>Colla&nbsp;</strong>American, b. 1969</span></p> <p style="text-align: justify;"><span style="font-size: small;">Eddie attended the School of Visual Arts in New York and graduated from the California College of Arts with a BFA in photography/interdisciplinary fine arts in 1991. He began his artistic career as a photographer, working first for the New York Times and later countless magazines, record labels and ad agencies. 15 years later he has morphed into one who counters the all-pervasive nature of commercialism in public spaces.</span></p> <p style="text-align: justify;"><span style="font-size: small;">Since 2005, his wheat-pastes and stencils can be found throughout public spaces in the Bay Area, Los Angeles and Miami.&nbsp; Eddie&rsquo;s work first began to garner national recognition when his street art began incorporating images of Barak Obama throughout the 2008 Presidential election.</span></p> <p style="text-align: justify;"><span style="font-size: small;">His growing popularity landed him attention on internet blogs, features in five published books, and participation in the &ldquo;Manifest Hope Art Gallery&rdquo; shows at the 2008 Democratic National Convention and at the Presidential Inauguration in Washington D.C. His designs have been transformed many times over, from stickers, album and magazine covers, and even on t-shirts notably worn by star, Spike Lee during a CNN interview.</span></p> <p style="text-align: justify;"><span style="font-size: small;">Of his work Eddie states, &ldquo;Some people view what I do as vandalism. I assume that their objection is that I alter the landscape without permission. Advertising perpetually alters our environment without the permission of its inhabitants. The only difference is that advertisers pay for the privilege to do so and I don&rsquo;t. So if you&rsquo;re going to call me anything, it is more accurate to call me a thief.&rdquo;</span></p> <p style="text-align: justify;"><span style="font-size: small;">In 2013 his work was featured alongside Hush, and Blek Le Rat in the Indoor Mural show at 941 Geary in San Francisco and at the Arts Fund Expo at Art Basel Miami. In August of 2011, Eddie completed an 80 ft mural in Little Saigon, San Francisco chronicling the Vietnamese Diaspora. His work has also been featured recently in the New York Times, Los Angeles Times, the Huffington Post and the Chicago Tribune.</span></p> <p style="text-align: justify;"><span style="font-size: small;"><strong>Hugh Leeman</strong></span></p> <p style="text-align: justify;"><span style="font-size: small;">Hugh Leeman&nbsp;is a San Francisco based artist. His artwork has exhibited at The Museum of Mexico City, The Contemporary Arts Center of Arlington, Virginia, and in Miami&rsquo;s Art Basel. His work has exhibited internationally In London, Paris, and Tel Aviv.</span></p> <p style="text-align: justify;">&nbsp;</p> Tue, 18 Mar 2014 16:32:14 +0000 http://www.artslant.com/sf/Events/list http://www.artslant.com/sf/Events/list Group Show - 1AM Gallery - March 14th - April 12th <p style="text-align: justify;">1AM Gallery is pleased to present, &ldquo;<strong>A Major Minority&rdquo;</strong>, opening on <strong>March 14<sup>th</sup></strong>, from 6:30 &ndash; 9:30 PM. Curated by San Francisco-based artist Poesia, &ldquo;A Major Minority&rdquo; is a survey of Othercontemporary Urban Artists from over 18 countries consisting of over a 100 artists. Expect to see an international sampling of art works that reveal the overall character of Urban Art and its relationship to the public as well as the contemporary art world.</p> <p style="text-align: justify;">According to Poesia, urban art has become an OtherContemporary art movement outside of the contemporary and critical art world. By taking a large sampling of the world&rsquo;s most prevalent urban artists, Poesia aims to reveal the true character of this art form as being born outside of theory and based on its interactions with the public as well as its urban landscape. &ldquo;A Major Minority&rdquo; is an attempt to illustrate the current progression of this art form as &ldquo;traditional graffiti merges with street art and becomes what the public has coined Urban Art.&rdquo;</p> <p style="text-align: justify;">Come check out works by world renowned artists108, 2501, O.Two, ABCDEF, Alex Kuznetsov, Alex One, Alexander Becherer, Alexey Luka, Amandalynn, Antistatik, &nbsp;Arnaud TRBDSGN Liard, Askew, Basik, Bezt, Blaqk, Blo, Boe, Bom.k, Borondo, Cain Caser, Christopher Derek Bruno, Clams Rockefeller, Col, Collin Van Der Sluijs, Corn79, Dame, Dana Woulfe, Deams, Debens, Defer, Dem189, Demsky, Dime, Djae, Does, Drew Tyndell, Drew Young, Duncan Passmore, EKG, Estria, Etnik, Evgeniy Dikson, Faust, Felipe Pantone, Franco Jaz Fasoli, Gilbert1, Graphic Surgery, Hellbent, INO, Jay Paavonpera, Jaw, Jerry Inscoe, Jurne, Kan, Karlos Carcamo, Katre, Kema, Ken Davis, Kidghe, Kwest, Legz, LX One, Mac1, Mags, Martina Merlini, Matt W. Moore, Max Rippon, Mes, Mike Bam, Moneyless, Morik, Nawer, Nelio, Nibor Reiluos, Nmph, Pener, Petro,Poesia, Proembrion, Rafael Sliks, Romi, Rubin, Sainer, Samuel Rodriguez, SatOne, Scott La Rockwell, See One, Seikon, Sepe, Silvio Magaglio, Slicer, Slick, Sowat, Sp&eacute;, Stendec, Stephen Holding, Swiz, Thiago Toes, Thomas Bestvina, Thomas Canto, Tobe, Todd Mazer, V3rbo, Vesod, Vincent Abadie Hafez Zepha, Wais, Wane, and Xuan Alyfe.</p> Thu, 10 Apr 2014 14:11:55 +0000 http://www.artslant.com/sf/Events/list http://www.artslant.com/sf/Events/list Clement Meadmore, Richard Erdman, Hans Van de Bovenkamp - a new leaf gallery | sculpturesite - January 12th - March 30th <p style="text-align: justify;"><span style="font-size: small;">Sonoma, CA &ndash; A New Leaf Gallery | </span><strong style="font-size: small;">Sculpturesite </strong><span style="font-size: small;">at Cornerstone Sonoma is pleased to announce the exhibition </span><strong style="font-size: small;"><em>IN BRONZE</em></strong><span style="font-size: small;">, on view from January 12 to March 30, 2014. An opening reception will be held at the gallery on Sunday, January 12 from 2-4pm.</span></p> <p style="text-align: justify;"><span style="font-size: small;">In this exhibition of bronzes by three internationally recognized sculptors, we explore three very distinctive approaches for creating striking abstract forms of enduring grace.</span></p> <p style="text-align: justify;"><span style="font-size: small;"> <strong>Clement Meadmore </strong>(1929-2005) created his diminutive models in resin, which he would meditatively cut and assemble in endless configurations, to be expertly fabricated by a foundry into bronze (or aluminum for his monumental works) at the scale that he felt would work best.</span></p> <p style="text-align: justify;"><span style="font-size: small;"> <strong>Richard Erdman </strong>(b. 1952) most often begins with carving an impossibly delicate and elegant stone sculpture at one of his studios in Vermont or Carrara, Italy. His most successful works are turned into a cast bronze edition. He is known for exploring a particularly eloquent form at various scales, in both bronze and stone.</span></p> <p style="text-align: justify;"><span style="font-size: small;"> <strong>Hans Van de Bovenkamp </strong>(b. 1938) creates one-of-a-kind sculptures from sheet metal, coaxing the rigid material into carefully composed organic forms that meld his background in architecture and his life-long interest in the spiritual, sacred sites of the world.</span></p> <p style="text-align: justify;"><span style="font-size: small;">&nbsp;</span></p> <p style="text-align: justify;"><span style="font-size: small;">Australian born <strong>Clement Meadmore </strong>moved to New York in 1963, attracted to a city where the new world of modern sculpture was exploding. Meadmore was at times described as a minimalist, but he resisted that identification. By the late sixties, his process was one of laborious research, combining two basic geometric shapes into endless possibilities and then deciding when he had accomplished that transcendence of geometry that he pursued: the fluid form of seemingly effortless grace that his sculptures all exhibit, from his maquettes just a few inches tall to his imposing monumental works.</span></p> <p style="text-align: justify;"><span style="font-size: small;">This exhibition features six of Meadmore&rsquo;s &ldquo;maquette sized&rdquo; works, spanning five decades of his career.</span></p> <p style="text-align: justify;"><span style="font-size: small;">&ldquo;Wave,&rdquo; 1968, one of the earliest bronzes, is pure fluidity at only 5&rdquo; x 11&rdquo; x 5&rdquo;, while &ldquo;Outspread,&rdquo; 1991, is more playful &ndash; an almost figurative, expansive form with great poise. One of Meadmore&rsquo;s last works, &ldquo;Us,&rdquo; 2002, in his signature gray patina, reaches out in two directions. Three larger &ldquo;indoor sized&rdquo; works are also on display: &ldquo;Tantamount,&rdquo; 2004, packs a powerful impact at 25&rdquo; x 35&rdquo; x 22&rdquo;; &ldquo;Frolic,&rdquo; 1997, 17&rdquo; x 24&rdquo; x 20&rdquo;, is all curves; and &ldquo;Lowdown,&rdquo; 1983, defies gravity. Two of Meadmore&rsquo;s outdoor sculptures in painted aluminum are also on view during this exhibition.</span></p> <p style="text-align: justify;"><span style="font-size: small;">Although Meadmore&rsquo;s accomplishments as a sculptor are often touted as far-reaching and crucially influential for an entire generation of sculptors, and his sculptures have brought in significant prices on the secondary market both in Australia and in the US, his works are still extremely collectable as they continue to be sold in galleries worldwide at prices set by the Estate.</span></p> <p style="text-align: justify;"><span style="font-size: small;"><strong>Richard Erdman </strong>was born and raised in Vermont with forests, mountains and stone quarries as his playground. He became an avid skier (twice an All-American Champion while studying at the University of Vermont) and the experience of exhilarating risk-taking that so attracted him to slalom skiing still informs his sensuous, fluid works. After graduating, he apprenticed with master carvers in Carrara, Italy, where he established a studio and embarked on a lifelong conversation with marble and other stone material. He realized early in his career the limits of production for an artist dedicated to stone carving, and so began to create bronze editions. He also maintains a studio in Vermont.</span></p> <p style="text-align: justify;"><span style="font-size: small;">Erdman&rsquo;s works can be found in museum, private and public collections in more than 40 countries, and have been included in over 150 solo and group exhibitions. This group of eight bronze sculptures includes &ldquo;Global,&rdquo; 30&rdquo; x 20&rdquo; x 18&rdquo;, &ldquo;Calypso&rdquo; and &ldquo;Confluence,&rdquo; all three perfect illustrations of what art critic Peter Frank describes as Erdman&rsquo;s focus on the &ldquo;positive-negative interplay, an innovation attributed to (Henry) Moore, a defining characteristic of Erdman&rsquo;s sculpture&hellip; That &lsquo;positive embracing negative&rsquo; formula also echoes Isamu Noguchi&rsquo;s approach to marble carving.&rdquo; The work &ldquo;Situ&rdquo; may be most closely related to the more abstracted of Moore&rsquo;s reclining figures, while &ldquo;Vela,&rdquo; the smallest of the group, is rather complex for its diminutive 7&rdquo; height, and quite a brilliant shadow caster! Originally created as a maquette for a monumental piece, &ldquo;Consuela&rdquo; is composed of two elements that appear to be dancing on a circular base, with a lovely patina blending from a rich brown to an elegantly mottled green.</span></p> <p style="text-align: justify;"><span style="font-size: small;"><strong>Hans Van de Bovenkamp </strong>emigrated from Holland with his family in 1957. He graduated from the University of Michigan with a Bachelor of Science and Design, and moved to New York City in 1961 to pursue his dream of &ldquo;becoming an artist&rdquo;. In the next few years, Van de Bovenkamp earned several awards for his sculptures, including the Emily Lowe award, was featured in newspaper articles and television programs, and was commissioned, with his brother Geritt, to create several major public commissions.</span></p> <p class="Default" style="text-align: justify;"><span style="font-size: small;">In the seventies, Van de Bovenkamp made a series of trips to North Africa, Latin America and Asia, where he found inspiration in spiritual and sacred places, from Hindu and Nepalese temples to Mayan pyramids. &ldquo;My journeys into Hindu cultures, where sculpture and mythology are wed, influenced me greatly and were the beginning of my incorporating mythological themes in my work.&rdquo; In 2001, Van de Bovenkamp began the Menhirs series, which elicited the following comments by art critic Donald Kuspit, &ldquo;All of Van de Bovenkamp&rsquo;s sculptures are modernist in their use of the fragment, but each fragment has a life of its own, subliminally attuned to the life of every other fragment.&rdquo; Later in the essay he wrote for the monograph published in 2004, Kuspit states, &ldquo;It is as though each of Van de Bovenkamp&rsquo;s sculptures embodies what Abraham Maslow calls &lsquo;peak experience,&rsquo; more particularly a peak experience of creativity itself.&rdquo;</span></p> <p style="text-align: justify;"><span style="font-size: small;">The six bronze works included in the exhibition include &ldquo;Herma,&rdquo; a tree-like composition in a delicate patina, very free and more buoyant that most of the artist&rsquo;s works in the series; &ldquo;Who Are You to Tell?&rdquo;, a bulkier work in a rich, almost black patina that surprises the viewer as its elements seem to fly away from certain angles; &ldquo;Curly,&rdquo; a playful sculpture where solid shapes are juxtaposed with open forms and sinuous curlicues; and &ldquo;Lady Godiva,&rdquo; one of Van de Bovenkamp&rsquo;s most figurative works in a rich, dark brown patina.</span></p> Thu, 09 Jan 2014 00:08:25 +0000 http://www.artslant.com/sf/Events/list http://www.artslant.com/sf/Events/list - Alameda Museum - March 8th - March 29th Fri, 17 Jan 2014 07:50:23 +0000 http://www.artslant.com/sf/Events/list http://www.artslant.com/sf/Events/list Shinpei Kusanagi - Altman Siegel Gallery - March 6th - April 19th <p style="text-align: justify;"><span style="font-size: small;"><strong>Altman Siegel</strong> proudly presents the second solo show at the gallery of Tokyo based painter <strong>Shinpei Kusanagi</strong>.&nbsp; The exhibition will feature the artist's abstract paintings paired with his illustration work, which is being shown for the first time outside of Japan.</span><span style="font-size: small;">&nbsp;</span></p> <p style="text-align: justify;"><span style="font-size: small;">Shinpei Kusanagi's landscapes are both dynamic and understated.&nbsp; Leaving much of the canvas raw, his minimal strokes of acrylic create figures, space and movement.&nbsp; Using simple geometric shapes Kusanagi subtly implies the windows and architectural planes that create the familiar geography of urban landscapes. Efficient marks imply the curve of a sidewalk, while a single brush of green evokes a tree. The broadly applied atmospheric washes of color leave the landscapes devoid of specific detail, as they seem to evoke the memory of a place rather than the place itself.</span><span style="font-size: small;">&nbsp;</span></p> <p style="text-align: justify;"><span style="font-size: small;">In contrast to the more abstracted landscapes, the exhibition will also include representational paintings that show the depth and range of Kusanagi's skill as a painter. Though stylistically quite different, these illustrations are a key element in Kusanagi's practice, and he considers them conceptually similar to the more abstract works.</span><span style="font-size: small;">&nbsp;</span></p> <p style="text-align: justify;"><span style="font-size: small;">For five years, Kusanagi published drawings to accompany each installment of Teru Miyamoto's novel&nbsp;<em>Mizu no katachi</em>[the shape of water], which was serialized in the monthly magazine&nbsp;<em>&eacute;clat&nbsp;</em>(published by Shueisha). These original works as well as Kusanagi's own writings were subsequently included in Kusanagi's first book&nbsp;<a href="http://www.takaishiigallery.com/en/archives/9298/" target="_blank"><em>Kiyosumi kaiwai&nbsp;</em>[Kiyosumi and its Environs]</a>&nbsp;published in 2013. For this exhibition, Kusanagi used the representational paintings as a point of departure, drawing on the motifs from these works to ground the abstractions. &nbsp;</span><span style="font-size: small;">&nbsp;</span></p> <p style="text-align: justify;"><span style="font-size: small;">Shinpei Kusanagi lives and works in Tokyo. His recent exhibitions include, "where the water comes together with other water," Taka Ishii, Kyoto, 2013; "Fuyu no Tabi," Shane Campbell, Chicago, 2012; "project N 45 KUSANAGI Shinpei," Tokyo Opera City Art Gallery, Tokyo, 2011; "VOCA", The Ueno Royal Museum, Tokyo, 2011. &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp;</span></p> <p style="text-align: justify;"><span style="font-size: small;">&nbsp;</span></p> <p style="text-align: justify;"><span style="font-size: small;">Book Title:&nbsp;<a href="http://www.takaishiigallery.com/en/archives/9298/" target="_blank"><em>Kiyosumi kaiwai</em>&nbsp;[Kiyosumi and its Environs]</a>&nbsp;Author: Shinpei Kusanagi&nbsp;</span></p> <p style="text-align: justify;"><span style="font-size: small;">Published by Kyuryudo&nbsp;<a href="http://www.kyuryudo.co.jp/" target="_blank">http://www.kyuryudo.co.jp/</a></span></p> Wed, 09 Apr 2014 20:24:25 +0000 http://www.artslant.com/sf/Events/list http://www.artslant.com/sf/Events/list Jamie Brunson, Barbara Kronlins - Andrea Schwartz Gallery - March 12th - April 18th <p><strong>FOR IMMEDIATE RELEASE</strong></p> <p>Contact: Jennifer Draughon</p> <p>Andrea Schwartz Gallery</p> <p>545 4<sup>th</sup> Street, San Francisco, CA 94107</p> <p>415.495.2090 &ndash; Phone</p> <p>415.495.2094 &ndash; Fax</p> <p>jennifer@asgallery.com</p> <p>www.asgallery.com</p> <p>&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp; &nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp; &nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp; &nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp; &nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp; &nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp; &nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp; &nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;</p> <p><strong>Jamie Brunson and Barbara Kronlins</strong></p> <p><strong>March 12 &ndash; April 18, 2014</strong></p> <p><strong>Opening Reception: Wednesday, March 12, 5:30 - 7:30 PM </strong></p> <p><strong>&nbsp;</strong></p> <p>Andrea Schwartz Gallery is pleased to announce a two-person exhibition featuring new work by Jamie Brunson and Barbara Kronlins opening Wednesday, March 12, 2014.</p> <p>&nbsp;</p> <p><em>&ldquo;For me, the success of my paintings relies on their capacity to evoke analogous sensations of expansion and connection in the people who see them.&rdquo; --</em>Jamie Brunson</p> <p>&nbsp;</p> <p>Jamie Brunson works with a mix of oil paint, alkyd medium and refined beeswax to build up layered, shimmering surfaces that extend beyond the canvas. Brunson uses veil and lattice forms to evoke meditative experiences and employs the physical qualities of paint to mimic the kind of perceptual sensory phenomena that arise in meditation&mdash;blurring, overlapping, dissolving edges, and radiance. Brunson received her BFA from the California College of the Arts and her MFA from Mills College.</p> <p>&nbsp;</p> <p><em>&ldquo;I was delighted with the images, colors, stories and memories they brought back.&nbsp; Who didn&rsquo;t love &lsquo;Archie,&rsquo; &lsquo;Blondie,&rsquo; and &lsquo;Felix the Cat.&rsquo;&rdquo;</em> --Barbara Kronlins</p> <p>Barbara Kronlins has always used vintage matchbooks, coloring books, and other vintage ephemera to create her graphic, multi-layered collages.&nbsp; However, after receiving a box of old comics found in the attic of her childhood home, Kronlins began incorporating these past and familiar images into her collages.&nbsp; The new materials recalled old memories, including a past interest in Pop Art, which pushed her to work with new shapes and sizes.</p> <p>Andrea Schwartz Gallery was established in 1982 and is located in the South of Market district of San Francisco in our new gallery space located at 545 &ndash; 4<sup>th</sup> Street. ASG exhibits contemporary work of mid-career artists from the Bay Area and across the country.&nbsp; ASG is a member of SFADA.&nbsp; Gallery Hours are Monday - Friday 9 - 5, Saturday by appointment. For further information and materials please contact Jennifer Draughon at 415-495-2090 or jennifer@asgallery.com.&nbsp; Additional information may also be found on our website, www.asgallery.com. Thank you!</p> Tue, 04 Mar 2014 00:55:11 +0000 http://www.artslant.com/sf/Events/list http://www.artslant.com/sf/Events/list Jeremiah Maddock - Anno Domini - March 7th - May 10th <p style="text-align: justify;"><span style="font-size: small;">Anno Domini is pleased to welcome the return of Jeremiah Maddock to the gallery with his third solo exhibition since 2009 A.D. A hyper prolific artist, Jeremiah continues his intensely patterned drawings as well as his unique figurative themes. In 2011, Jeremiah came to San Jose for his opening reception from New York City....deciding shortly afterward he wasn't going back. Since then, he's been living in a house, near a river in the Pacific Northwest, with the fish, otters, deer and bald eagles.</span></p> <p style="text-align: justify;"><span style="font-size: small;">"This work, like most of my work, is an ongoing process of exploration.</span><br /><br /><span style="font-size: small;">"Through the process of creating I find part of my brain and spirit that, so far I can only access through hours and hours of creating and building my visual language. To me it feels like meditation, or at least, what I understand meditation to be. It is a feeling that I am addicted to and so I keep on searching all the time&sbquo;&Auml;&igrave;I can&sbquo;&Auml;&ocirc;t go out and buy it anywhere. With this feeling comes warmth and peace, love and angst, and a freedom of knowing that there is no right way to be an artist...it&sbquo;&Auml;&ocirc;s a great freedom...it connects me, I feel, to something other worldly or maybe just worldly...I wouldn&sbquo;&Auml;&ocirc;t know. While I am working, the pieces look amazing to me...like it has a pulse or electrical current weaving through it...when I wake up the next day, it seems to be gone and it looks like just another drawing. It is through the process of making that I find the images and concepts&sbquo;&Auml;&igrave;if there are any to be found. Barely ever do I have preconceived ideas when I sit down to work (which should explain somewhat this vague paragraph.) Though I have been making things for a very long time, I feel I have barely scratched the surface of what can be, so I will keep going through this maze until I find that flood gate. There is a lot for me to look forward to."</span><br /><br /><span style="font-size: small;">~Jeremiah Maddock</span></p> <p style="text-align: justify;">&nbsp;</p> Fri, 02 May 2014 07:28:35 +0000 http://www.artslant.com/sf/Events/list http://www.artslant.com/sf/Events/list Jim Hodges - Anthony Meier Fine Arts - March 21st - April 25th <p style="text-align: justify;">Anthony Meier Fine Arts is pleased to present an exhibition of new works by New York-based artist Jim Hodges.&nbsp; In his third solo presentation at the gallery, Hodges debuts a series of five colored mosaic mirrors on panel.&nbsp;</p> <p style="text-align: justify;">The new body of work continues a dialogue first begun in 1996 with the smashing of a reflective glass support to create shatter streaks on a mirrored surface.&nbsp; Since that time, Hodges&rsquo;s mirror works have evolved into a finely-tuned tessellate process in which he manipulates the shift and sway of light and reflection.&nbsp;</p> <p style="text-align: justify;">Introducing color to his mirrors for the first time, Hodges&rsquo;s new exhibition features works flush on the wall as well as angled works that fit into corners. These corner pieces juxtapose two colors, reflecting into one another.&nbsp; The surfaces are electric; orange, pink, blue and yellow create a spectrum of light in their interplay. Their scale is substantial and immersive: the largest work,&nbsp;<em>Untitled (Grey Ellipse)</em>, stands nearly 12 feet tall.&nbsp;</p> <p style="text-align: justify;">A comprehensive survey exhibition of Hodges&rsquo; work,&nbsp;<em>Give More Than You Take</em>, curated by Jeffery Grove and Olga Viso, debuted at the Dallas Museum of Art in October 2013.&nbsp; Currently installed at the Walker Art Center, Minneapolis, through 11 May the show continues to the Institute of Contemporary Art, Boston (5 June through 1 September) and the UCLA Hammer Museum, Los Angeles (5 October through 17 January 2015).</p> Wed, 09 Apr 2014 20:24:31 +0000 http://www.artslant.com/sf/Events/list http://www.artslant.com/sf/Events/list Paul Moshammer, Reddy Lieb, Gene Erickson, Mirto Golino - art works downtown - February 14th - June 27th <div style="text-align: justify;"><span style="font-size: small;">Longtime AWD Associate Artist Arthur Comings has opened a small gallery, The Art of Assemblage, in Studio 32, just down from the main gallery. He will be showing the finest examples of assemblage that he can find. If you peek in you can see how the first show is shaping up.</span></div> <div style="text-align: justify;"><span style="font-size: small;">&nbsp;</span></div> <div style="text-align: justify;"><span style="font-size: small;">Anyone interested in showing assemblage in Arthur's gallery can send images or website link to&nbsp;<a href="mailto:arthurcomings@gmail.com" target="_blank">arthurcomings@gmail.com</a>.&nbsp;<a href="http://click.icptrack.com/icp/relay.php?r=44823154&amp;msgid=1159273&amp;act=GVUD&amp;c=292265&amp;destination=http%3A%2F%2Fwww.artworksdowntown.org%2Femerging-artist" target="_blank">Learn more here</a></span></div> Wed, 09 Apr 2014 18:39:22 +0000 http://www.artslant.com/sf/Events/list http://www.artslant.com/sf/Events/list Group Show - art works downtown - March 7th - April 18th <p style="text-align: justify;">Receptions:&nbsp;March 14&nbsp;+&nbsp;April 11&nbsp;&bull;&nbsp;5&ndash;8pm&nbsp;&nbsp;<br />Artist Talk:&nbsp;March 29&nbsp;&bull;&nbsp;11am</p> <p style="text-align: justify;">The art of Mike Shine and friends with special music guest, Beso Negro.</p> <p style="text-align: justify;">Featuring Helen Bayly, Joe Bender, John Butler, Ben Clarke, Colin Day, Blair Tom, and Calvin Wong</p> <p style="text-align: justify;">&nbsp;</p> <p style="text-align: justify;">Including Mike Bennett, Jake Cortez, Spencer Cunningham, Kim Dittrich, Jonah Elias, Leonardo Ferlinghetti, Maxx Moore, Kyla Neugebauer, Cooper Shine, Riley Shine, Sawyer Shine, and Oliver Whitcroft</p> Wed, 09 Apr 2014 18:34:23 +0000 http://www.artslant.com/sf/Events/list http://www.artslant.com/sf/Events/list - Asian Art Museum - October 20th, 2012 - August 3rd <p style="text-align: justify;">Our bodies are moving canvases; the orna&shy;ments we wear are seen from different angles, in bright sun and evening shadows, at simple gatherings and fancy events. While jewelry often proclaims the wealth and status of its owner, each object can also tell other stories. These are stories of the cycle of life&mdash;engagements, weddings, births, deaths. Jewelry can function as a talisman, encapsulating our wishes for protection or hopes for prosperity.<br /><br />On view in gallery 11 of the Southeast Asian galleries (October 20, 2012&ndash;August 3, 2014) is a remarkable selection of jewelry from the James and Elaine Connell Collection. After donating their collection of Thai ceramics to the Asian Art Museum in 1989, the Connells began collect&shy;ing jewelry, selecting rare objects from a wide range of Southeast Asian cultures. The forty-one pieces of jewelry on display, which were recently donated to the museum, come primarily from Indonesia but also include examples from the Philippines, Malaysia, and Burma.<br /><br />Ancient Indian texts describe a region called&nbsp;<em>Suvarnadvipa&nbsp;</em>(&ldquo;Golden Island&rdquo; or &ldquo;Golden Peninsula&rdquo;), a term thought by many to des&shy;ignate the Indonesian islands, particularly Sumatra. Sumatra is rich in gold deposits that were exported throughout the archipelago. Gold has long been treasured for its luster, malleabil&shy;ity, and resistance to corrosion. In many of these island cultures, gold was associated with the sun and with the ancestral deities.<br /><br />While many of the objects on display are gold, other materials were also used for ornamentation. Bells, beads, bones, beaks&mdash;Southeast Asians made jewelry from a vast array of materials, both imported and local. Traditions of jewelry making are especially rich among the peoples of Mindanao Island and the Luzon highlands of the Philippines and a case in the display exhibits objects from these regions.<br /><br />The jewelry of neighboring regions (or even within an area) can be dramatically varied, including both strikingly bold forms and objects finely crafted with intricate detail. Certain shapes, like the omega-shape &Omega;, spread across thousands of miles and are linked to notions of female fertility. Other forms, like the huge plate-shaped gold chest ornaments called&nbsp;<em>piring mas&nbsp;</em>(gold plates), are found only in a small number of eastern Indonesian islands.<br /><br />Most of the objects on display most likely date from 1800-1900, but it is possible some are much older. Jewelry of these types is no longer made in many of these regions, although heirlooms are still kept, treasured, and worn on ceremonial occasions. As a group these objects illustrate the great diversity of techniques, materials and functions of jewelry made by some of the many distinct cultural societies of Southeast Asia.</p> Thu, 06 Mar 2014 17:11:19 +0000 http://www.artslant.com/sf/Events/list http://www.artslant.com/sf/Events/list Qi Baishi - Asian Art Museum - October 29th, 2013 - July 13th <p style="text-align: justify;"><span style="font-size: small;"><em>The Carved Brush</em> showcases works by acclaimed Chinese artist Qi Baish. Born into a poor farming family and coming of age during China&rsquo;s century of civil strife, Baishi became the most widely recognized Chinese artist of his time. His distinctly modern art broke through class and cultural barriers through use of expressive &ldquo;carved&rdquo; brushwork. Qi Baishi&rsquo;s art is the ideal gateway through which art lovers of any class or culture can learn about the millennia-old tradition of Chinese brush painting.</span></p> <div style="text-align: justify;"><span style="font-size: small;">Born into a poor farming family and coming of age during China&rsquo;s century of civil strife, Qi Baishi rose to become one of the most widely recognized Chinese artists of his time. His distinctly modern art broke through class and cultural barriers through use of expressive &ldquo;carved&rdquo; brushwork, juxtaposition of vibrant colors against deep and rich ink tones, economy in form and composition, and selection of emotionally resonant subject matter. He is credited with transforming the brush art of China&rsquo;s educated elite into a more universal art form, appreciated by people of all social backgrounds. Qi Baishi&rsquo;s paintings featured rugged, expressive brushwork based on his practice of the related arts of brush-written calligraphy and seal carving&mdash;the art of carving characters in stone. Can you spot the relation between his calligraphy and seal carving, and the &ldquo;carved&rdquo; brushwork in his paintings?</span><br /><br /></div> <p style="text-align: justify;"><span style="font-size: small;">Much as a poet strives to communicate deep meaning with few words, Qi Baishi simplified his rendering of his subjects to a minimum number of brush touches. In this way, he integrated representational elements with abstraction in an attempt to capture the spiritual essence of his subjects.</span></p> Sat, 16 Nov 2013 16:06:28 +0000 http://www.artslant.com/sf/Events/list http://www.artslant.com/sf/Events/list - Asian Art Museum - February 21st - May 25th <div class="summary editor_content" style="text-align: justify;"><span style="font-size: small;">Breathe deeply, and get ready for the world&rsquo;s first major art exhibition about yoga.</span></div> <div class="summary editor_content" style="text-align: justify;"><span style="font-size: small;">&nbsp;</span></div> <div class="body editor_content" style="text-align: justify;"><span style="font-size: small;">Millions of people around the world practice yoga to find spiritual insight and improved health. While many are aware of yoga&rsquo;s origins in India, few may know about its philosophical underpinnings or its fascinating history over thousands of years. <em>Yoga: The Art of Transformation</em> goes beyond postures and delves into how yoga has evolved into a global phenomenon through an exploration of its visual history. Borrowed from 25 museums and private collections in Europe, the U.S. and India, the artworks featured in the exhibition date from the 2nd to the 20th centuries. Images ranging from benevolent deities and gurus to Tantric goddesses and sinister yogis reveal how yoga practices&mdash;and perceptions of them&mdash;have transformed over time and across communities. Exhibition highlights include stunning masterpieces of Indian sculpture and painting; pages from the first illustrated book of yoga postures (asanas); and a Thomas Edison film, <em>Hindoo Fakir</em> (1902), the first American&nbsp;movie ever produced about India. &nbsp; </span><br /><br /><span style="font-size: small;">The Asian Art Museum is the only U.S. West Coast venue for this exhibition.</span>&nbsp;</div> <div class="body editor_content" style="text-align: justify;"> <div><em>&nbsp;</em></div> <div><em>Yoga: The Art of Transformation</em> was organized by the Arthur M. Sackler Gallery, Smithsonian Institution with support from the Friends of the Freer and Sackler Galleries, the Art Mentor Foundation Lucerne and the Ebrahimi Family Foundation.<br /><br /></div> <div>Presentation at the Asian Art Museum is made possible with the generous support of The Bernard Osher Foundation, Helen and Rajnikant Desai, E. Rhodes and Leona B. Carpenter Foundation, Kumar and Vijaya Malavalli, Society for Asian Art, and Walter &amp; Elise Haas Fund.</div> <div> <h3>&nbsp;</h3> <h3><span style="font-size: small;">We&rsquo;re celebrating the opening of <em>Yoga: The Art of Transformation</em> with two amazing kickoff events:</span></h3> <h4><a href="http://www.asianart.org/events/288" target="_blank">Yoga Opening Night Party</a>&nbsp;</h4> <div>Friday, Feb 21, 7&ndash;11 pm&nbsp;</div> <div>&nbsp;</div> <div>Take a deep breath and dance the night away with MC Yogi, DJ Drez and DJ Sol Rising. Not your speed? Stretch out in a yoga class earlier in the evening led by MC Yogi or spend some time in our galleries. Either way, be the first to see the exhibition that The New York Times called &ldquo;immensely pleasurable.&rdquo; AcroYogis, Non Stop Bhangra with Dholrhythyms, gallery tours, storytelling, complimentary sips by Laughing Glass Cocktails, and cash bars make this a feel-good party for the body and soul. <a href="http://www.asianart.org/events/288" target="_blank">View the full schedule</a>.</div> <div>&nbsp;</div> <h4><a href="http://www.asianart.org/events/289" target="_blank">Yoga Festival</a>&nbsp;</h4> <div>Saturday, Feb 22, 10:30 am&ndash;4pm</div> <div>&nbsp;</div> <div>Practice yoga in the museum&rsquo;s beautiful Samsung Hall with your choice of one of three 90-minute classes taught by top notch teachers: the Art of Attention with Erica Jago; AcroYoga with Jenny Sauer-Klein and Adam Rinder; and Vinyasa Flow with Stephanie Snyder. Open your mind and chill out in our collection galleries and yoga exhibition. Got kids? Bring &lsquo;em! Yoga for the little ones, art making activities, storytelling sessions, curatorial-led gallery talks, tours, and the Yogi Tea Lounge round out this family-friendly event. <a href="http://www.asianart.org/events/289" target="_blank">View the full schedule</a>.</div> </div> </div> Fri, 17 Jan 2014 07:57:06 +0000 http://www.artslant.com/sf/Events/list http://www.artslant.com/sf/Events/list - Asian Art Museum - March 14th - October 26th <div class="main fixed_width"> <div class="exhib_content"> <div class="summary editor_content" style="text-align: justify;"><span style="font-size: small;">Mandalas are maps of Buddhist visionary worlds.</span></div> <div class="summary editor_content" style="text-align: justify;"><span style="font-size: small;">&nbsp;</span></div> <div class="body editor_content" style="text-align: justify;"><span style="font-size: small;">Minutely detailed and saturated with philosophical meaning, these works (most often paintings or sculptures) are a feast for the eyes and the mind&mdash;nested squares and circles are arrayed to represent the center of the cosmos and the four cardinal directions. For Buddhist practitioners, however, mandalas are not just images to view, but worlds to enter&mdash;after recreating the image in their mind&rsquo;s eye, meditators imaginatively enter its realm.</span><br /><br /><span style="font-size: small;">But is it possible to have this experience without years of meditative discipline? <em>&nbsp;</em> <em><br />Enter the Mandala</em> says yes. In this exhibition, 14th-century paintings align a gallery with the cardinal directions, transforming open space into an architectural mandala&mdash;a chance to experience the images in three dimensions, to dwell in the midst of the cosmic symbols and be transported to another world. Visitors can literally &ldquo;enter the mandala,&rdquo; exploring places in the cosmos&mdash;and perhaps themselves&mdash;that might otherwise remain invisible.&nbsp;</span></div> </div> </div> Fri, 17 Jan 2014 08:01:41 +0000 http://www.artslant.com/sf/Events/list http://www.artslant.com/sf/Events/list George P. Hedley, Wesley A. Havermale, Robert Branstead - Badè Museum - August 30th, 2013 - April 4th <p align="justify">The importance of capturing on film the decisive and transient moments of an archaeological expedition was not lost on William F. Bad&egrave;, the director of excavations at the ancient site of Tell en-Nasbeh from 1926 to 1936. Each season the team went into the field with an assortment of cutting-edge photographic equipment best suited for such grueling terrain. While excavations progressed, Dr. Bad&egrave; was sure to have all aspects of the dig visually documented, from the discovery of important objects in situ, to the transient stages of unearthing complex structures such as tombs. The shifting appearance of the site&rsquo;s architectural remains was also recorded through a series of general views taken from an elevated viewpoint, as demonstrated in the image above. By the end of each season the team had amassed an unfathomable number of 5 x 7 inch negatives and their black-and-white photograph counterparts, 3&frac14; x 4&frac14; inch negatives that were later used to produce lantern slides, and a record-book documenting each photograph taken that season. Photograph numbers were also included on basket tags and in the main object registry book, which now permits cross-referencing of this vast collection of materials.</p> <p align="justify">Owing to Dr. Bad&egrave;&rsquo;s forward-thinking and organized scientific approach, the Bad&egrave; Museum now has a very rare and uniquely insightful digital library for the excavations at Tell en-Nasbeh. Such a collection of photographs permits us to see the remains of this ancient city through the eyes of the excavators, to experience what they must have experienced when they first laid eyes upon an object in situ that had not been seen for close to 2700 years. Thanks to Dr. Bad&egrave; we can better understand the experience of &ldquo;recover[ing] from the earth the still fragmentary story of man&rsquo;s past.&rdquo; (Bad&egrave;,<em> A Manual of Excavation in the Near East</em>, 1934).</p> <p><em>Tell en-Nasbeh Photographers:</em><br /> George P. Hedley (1927, 1929); Wesley A. Havermale (1932); Robert Branstead (1935)</p> <p>&nbsp;</p> Sat, 21 Sep 2013 15:54:59 +0000 http://www.artslant.com/sf/Events/list http://www.artslant.com/sf/Events/list Jeff Christensen, Julianna Menna, Paolo Petrangeli - Bash Contemporary - March 21st - April 19th Sat, 15 Mar 2014 09:45:53 +0000 http://www.artslant.com/sf/Events/list http://www.artslant.com/sf/Events/list